Bhagavad Geethai Venba
by Vadikesari Azhakiya Manavala
Jeeyar Edited with prose explanation by
Dr. M. Varadarajan
Sri Ananth Pathippagam, Bhaktamrutham,
Flat No. 3, First Floor, 27, South Mada Street, Triplicane, Chennai 600 005)
Price: ₹ 250
The Bhagavad Gita has a special importance in the history of Indian philosophy as a testing-ground for analysis and interpretation. It has also been of great significance for the Srivaishnava sampradaya, since its charama sloka (XVIII, 66) is used for initiation by them. Alavandar has effectively summarised it, Sri Ramanuja has gifted a radiant commentary. The Bhagavad Geethai Venba by Vadikesari Azakiyamanavala Jeeyar (1242-1350) is justly famous. An early Tamil version, the venba meter lends itself to easy memorisation. Though the Jeeyar had written his work in easy Tamil, the present age calls for a contemporaneity of utterance to understand the work. It is good that the intrepid scholar, Dr. Varadarajan has come forward to write an explanation of each venba in simple, flowing Tamil.
The Jeeyar handled Sanskrit and Manipravala with mastery, while in Bhagavad Geetai Venba we note his fine poetic sensibility. Also, the work is a demonstration of the art of translation. Despite his Sanskrit scholarship, the Jeeyar avoids Sanskrit diction as much as possible. The very first verse shows that he has preferred ‘nilam’ for ‘kshetra.’ Again, the verses themselves mark the context through their linkage. One can realise that even those who had little or no knowledge of Sanskrit in those days could follow the trend of the argument since each canto gets an introductory verse about what follows. Thus ‘Karma Sanyasa Yoga’ (in Dr. Varadarajan’s explanation of the Jeeyar’s venba):
“The fifth chapter of the Geeta shastra given by the leader Krishna seeks to prove that the karma yoga that follows the ancient Vedic Way, attached to the firm conviction that ‘I am not the doer’ is taught to Arjuna till his mind cleared, is the subject matter of the fifth canto.”
Of course, each canto is a challenge when the statement in the original couplet has to be presented in a terse venba, but the challenge is well-met and if there are ambiguities, the explanation comes to our help immediately. The Viswarupa darsana that overwhelms us by the terror exuded by the image of Time, the Destroyer; the pellucid Bhakti Yoga that is all simplicity and sweetness and the rest brought into another language with ease provides a welcome impetus to study great literature in Tamil translation.
